August 17, 2026 • 28 mins
Aimee Francis is an acclaimed music producer, artist, and sync licensing specialist from Melbourne. In this episode, she shares her journey as the creative force behind Aimee Francis & The Midnight Hours, offering insights into producing music and building a sustainable career in today's music industry.
If you’d like to see more, you can follow on instagram; @ aimeefrancismusic
This episode was recorded on 6 August 2026 on the lands of the Woiworung Peoples. We hope that this episode inspires you as a creative person and as a human being.
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Created and Hosted by Alexis Naylor
Music by Alexis Naylor & Ruby Miguel
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:49):
oh, my goodness- welcome to Through The Creative Door.
Thank you.
Thanks for having me.
It's- Excited to be here … so lovely to have you here.
Yeah.
You're such a talented bear.
For those listening, I have known you since you were 16.
15. 15? Mm. Oh, my goodness, how did I get that wrong?
Good question.
. But you are such a rock star.
(01:11):
Ah.
Such a- No … talented musician, multi-instrumentalist.
Also, so brilliant producing things- Shucksies … and, you know, I have such admiration for people who do sync music and, uh, work as well, which is something that you've dived into.
Yeah.
Especially during- Yeah … COVID or during COVID times.
(01:33):
But yeah.
In a nutshell, Amy Frances.
Oh, thanks, mate.
Thanks, mate.
Good to be here.
You have also been in different iterations of bands.
You've worked with so many different people, producers.
So I am intrigued- Mm
of what your answer to this next question's gonna be.
(01:55):
What does a creative space mean to you?
It means not having the main light in the room on.
I'm all about lamps mood lighting, mood smells, making sure I'm caffeinated.
It can be anywhere, but as long as I've got those things I'm usually pretty good, I think.
It's, it's creating a vibe.
(02:16):
And as long as I'm caffeinated and watered, I'm like a plant, basically I'm good to go.
And yeah, that ugly fluorescent, whatever it's called, lighting.
Just make it moody.
Make it a vibe and I'm good.
If they did wanna get a vibe of this ambient aesthetic that you have- Mm
they should totally watch you on TikTok.
(02:36):
Yes.
Yeah.
'Cause you have quite a regular programming for you on TikTok.
Yeah, so every Tuesday, Wednesday, Thursday night I'm on for a couple of hours from around 8:30 PM.
During the daytime I try and jump on for, like, a lunchtime hour.
I've also been doing car TikTok Lives.
We call them little car parties, where I'll drop the kids off at daycare, I'll have my little guitar in the car, and we'll just do…
(03:00):
I'll grab a coffee somewhere, and we'll just do it live from wherever I stop.
Stop.
So that's been fun.
That sounds so cool.
Yeah.
And- Little micro sessions.
Yeah, yeah, yeah.
And, and it's cool because you're kind of, um, targeting different countries.
Yeah.
So the mornings we usually get America the English, and Europeans when they're going to sleep, that kind of vibe.
(03:20):
And then the evenings it's usually the Aussies and the English, Europeans when they're waking up.
I love this.
Yeah.
It's y- you're just catering for everybody.
Trying to, yeah.
Trying to.
Just trying to, yeah, grow the community, I guess.
Love.
Yeah.
Love.
Yeah.
You have released and been part of so many different projects.
(03:42):
Mm. Obviously doing the sync licensing, you've done some pretty cool stuff- Yeah … there.
But is there anything in particular that you're most proud of creating?
I think for a very long time, and for a lot of my career as proud as I have been about the songs, a lot of the time I've been chasing other people's vibes in terms of what is the radio currently playing, who are people listening to, and it's always been authentically me, but it's only in the past kinda couple years that I've felt that I've been able to come into my own grounds and kind of stand my own grounds of being like, "This is how I sound."
(04:20):
A- and you know, uh, that also comes back from past experiences with labels and managers and all the rest of it being, "You gotta sound like this, you gotta look like this, you gotta be like this." I think over the past couple of years, I've been able to come into myown sound and feeling authentically me when I'm delivering something a bit more these days, and I think it's due to my past being associated with other people, management, labels, just other people's opinions, , and still not 100% figuring out who I was as an artist.
(04:56):
I'm really proud of everything I've released and done, but I feel like the past couple of years have been the time that I've kind of felt a lot more grounded and had a bit of a, "This is the path I'm on", kind of thing, if that makes sense.
Mm-hmm.
So, there's no particular release that did that for me, I don't think.
I think Magic probably was the start of it all in terms of being like, "This is me, and this is what I'm doing", kind of thing.
(05:21):
As far as all the sync projects and all, all that kind of stuff, I love doing it, but for me, that's just kind of, part of one of the many musical jobs I've got.
I love doing them but it definitely doesn't mean that that genre that I've been assigned to do for the day is my thing-thing.
You know what I mean?
Um, so yeah, going back to the original side of things, I think the past couple of years have been the, the ones that have felt right.
(05:45):
Have you enjoyed the process of being able to dive into… So you've mentioned about, you know, that journey through.
Mm. Has it been challenging, or have you enjoyed testing out the waters essentially with all of these little genres and trying to work out what your aesthetic and sound is?
(06:05):
Yeah.
I think because I have such a love for music production and writing in general- … and doing the sync stuff as well and then also the journey of my own sound, it, it's all been a, a blessing, I guess.
It's all been something that I've loved doing.
And you learn, and there's nothing I've hated doing, so that's good.
(06:28):
Yeah, it's all been a lesson of, of some kind, and I'm sure in a couple of years I'll be like, "Actually, this is the sound I wanted to go for." So it probably will change, but I guess the main difference that has been made is the fact that I'm making decisions for me rather than listening to everyone else's opinions.
Mm. Mm. Which has been a thing in the past- Yeah … for sure.
Yeah.
(06:49):
I feel like there'd be so many people listening in that would- Part of the goal would be to have someone to tell them what to do- Mm … or to help.
Yeah.
But it seems, just reading between the lines, that perhaps maybe you've enjoyed maybe having a bit more of creative control?
I think it's a blessing and a curse- Okay … in terms of, uh, it's awesome to feel like you're in your skin and in your shoes kind of thing.
(07:18):
But the curse is it is you steering the ship and, um, and that can kind of get overwhelming or questionable at times, you know?
So, it is always great to have a community of people, like yourself that you can kind of rely on to be able to ask questions and, and hear their opinions, uh, without them pretty much putting it down your throat what's right and wrong.
(07:43):
I think that's what it's kind of about, is having people to bounce ideas and stuff off, to be like, "Does this seem like I'm going in the right direction," you know?
Without telling you you're going in the right or wrong direction.
I think that's the difference.
Um, and I feel like that has been a, the, the game changer for me, I think.
And I would assume that the step down from having management would be- Mm … more to have a business coach or mentor or- Definitely … something like that?
(08:15):
So, like, I, I have, um, I have a few mentors that I, I speak with a- and that's been really handy from all different walks of life musically.
You've got your music production side of things as well as mindset and all the rest of it.
They're great.
If I was going to look at hiring people in terms of the organization of my life and business side of things, I'd probably look at a booking agent.
(08:38):
And that's just because it would save me a bunch of time.
They've got the contacts.
They can do that kind of stuff.
Management, I'm not against.
I'm not against it at all.
It's just I haven't needed it.
Well, I've used, I've had it in the past.
Wasn't the most positive of experiences, and I haven't needed it since.
I got burnt early and had to teach myself how to do everything.
(08:58):
So I guess, again, that's the silver lining from it all.
And, uh, that's where we're up to, I guess.
Yeah.
Yeah.
Amazing.
Yeah.
With all of that said, is there something in particular that's challenged your creative process or creativity for
you?
Mm. We all have, life is forever evolving and changing- Mm … and we've all got certain pressures, whether that be family or friends or- Yeah, sure
(09:25):
financial.
But I would be curious to know
whether what we've t- been talking about, about management and that changing of, like- Yeah … trying to work out aesthetic and that journey- Yeah … whether that's been the most challenging thing for you or if there's something else that's been challenging and- Yeah, I think imposter sy- syndrome is a big one, and I think it is pretty big for a lot of creatives.
(09:48):
And I think it's really hard with solo artists as well when you are navigating it yourself.
You know, I feel like with a band situation, you've kind of got each other to, again, bounce back on.
But yeah, imposter syndrome's been a massive one for me.
A lot changed with the pandemic.
That was one thing that was a big change for me from a how is my musical life running.
(10:14):
Uh, beforehand I was touring a fair bit, uh, both here and overseas.
And then when we jumped into lockdown, that's when I started studying production and kinda learning all the ins and outs of that.
Which again, was the silver lining of all of that.
But, uh, in terms of being an artist, uh, that was a massive shift.
(10:37):
Whether it was a positive or a negative one, I don't know.
It definitely shifted me as an artist to be doing different things which is a positive, 'cause I'm making money from music not solely on my original stuff, which I thought would be the end game.
But it's not a bad thing, like at all.
I'm very, very stoked to be doing what I'm doing.
From an artist point of view, I think the m- the biggest challenge for me, uh, through my whole career has, one just being in my own way.
(11:05):
I think when you get out of your own way as an artist and let the things happen, rather than trying to pinpoint every single step in how you think it should happen to get to whatever the end goal is.
A lot of the time the end goal is massive anyway, and you can't, you know, it's not a black and white yes or no, let's go to uni and study for eight years and become a lawyer, and that's what happens.
(11:30):
You know?
It's not what happens in the industry.
So for me, it's been getting in my own way and the imposter syndrome of feeling not good enough or just the the mental health stuff, all that kinda thing.
But j- it's, it all kind of accumulates around the imposter syndrome, I think.
(11:51):
And being in your own head, being in your own way.
Y- and, uh, and that's been something I've been really trying to focus on that I think has helped going back into the, um, authentic self, feeling a bit more like that over the past couple of years.
Has there been particular tools that you've sort of leaned into using to try and help w- Alcohol.
(12:19):
No,
I'm just Alcohol.
Um, but- Therapy.
Yeah, yeah, yeah.
Yes, but no, but yes, but no.
I know when I'm eating well and looking after myself and not drinking alcohol when you're putting yourself first, there we go, that's probably it things seem to go into alignment, whatever you wanna call it, a lot more.
(12:41):
You're in that state, the flow state, whatever you wanna call it and things just seem to work a lot better, and that's in life in general.
And when that's happening, You don't have to think about it.
You don't have to plan it.
Getting out of your own head, getting out of your own lane.
Yeah, just putting yourself first, which is hard to do, I think, you know, in this life.
Whether it's family or y- imposter syndrome or, you know, all that kind of stuff.
(13:04):
It's, um… It's a thing, but it's something that needs to be reminded.
I feel like we should, like, add a, an alarm clock to our thing every morning and just be like, "Oi, are you switched on for you?"
kind of thing, you know, just to… yeah, so I think that's the main thing I've learnt, is just to show up for yourself.
Hmm.
Massive one.
Hmm.
Massive.
I feel that there is a theme with some of the guests that come through here.
(13:29):
Mm-hmm.
Alignment- Mm-hmm … is overarching.
I think what you were saying, like obviously you're able to really pinpoint the imposter syndrome, but this i- this overarching about alignment- Yeah … and coming back to us.
Mm. But the, but the bigger question is alignment… Well, not question, but statement really, is the alignment for the why.
(13:55):
I think it was Max and Nay who talked about this, and I talk about it quite a lot with people- Mm … which is like, what's your North Star?
It's not about how do I do it- Mm … as in, these are all the metrics.
And because everything we in this industry is so metric driven- It is … and so, yeah- … goal orientated.
Yeah.
But it's like, okay, but why?
(14:16):
Mm. Why are we doing it?
Mm, it's like- Why are you pitching for that festival?
Why are we pitching to- What are you gonna get from it?
Yeah.
You know?
And- Yeah … um- What are you hoping to achieve?
Is it getting to- Mm … our why?
I think, I feel like that's something I'm, I'm learning.
I don't know if it's an age thing, I don't know if it's a priority shifting thing, I don't know if it's a life thing, but- It used to always be if I'm not a successful stadium-filling artist, then I'm not successful, and then Craig, my guitarist, and I played a gig in, uh, at the Bundy.
(14:49):
So I think that's probably about 200 people, give or take.
This little hall in the middle of nowhere.
And it was full of people that literally came to see live music, and they bought all the merch, and they came, and we had chats, and there was a fire outside, and there was a community barbecue and homemade cookies.
And I was like, "Holy shit, I just wanna do this. I just want to tour like this for the rest of my life, and everyone's happy, and it'll be nice." And that was, like, a massive changing, like, pivot point for me.
(15:15):
It was only a few weeks ago, but it was like a, this is actually what it's about, it's about comm- And that's why I love TikTok Live as well, because it's building a community.
It's online, so it's a bit of a different vibe.
But you're building a community that are there to be there for the music, but they're also having their little chats inside the, the app as well and, and getting to know each other.
(15:36):
And it's, um, it's that connection thing, and it's it's really special and maybe something that was a little bit lost over the past five years or so with what's been happening in the world.
At the moment, it's still a crazy place to be.
But, um, yeah, it was, it was a bit of a game changer for me, for sure.
Yeah.
And I think especially for music- … where arts as a whole- Mm … but music especially, where people are worried and scared about AI, and I think that then counter that- Mm … with people wanting authentic live, knowing- Yeah
(16:15):
who they're actually, you know, supporting- Mm … in real life.
Mm. So even more so, I think those live connections- I think it's gonna be… I, I really hope it's gonna be a turning point.
I am not against AI.
I think there's a purpose for it.
I think this might be the turning point where it is kinda going back to pre-pandemic time when people went out to see live music for the sake of seeing live music, nowadays, I feel like it's really hard to get people to come out to to see just for the sake of going, you know?
(16:44):
Like, um, not knowing who's on the lineup.
There used to be times where you'd go to a venue to see live music full stop, and it didn't matter who the band or the artist was.
Whereas I feel like these days, people have to have a purpose to go there, but I think that could change maybe.
I think that human connection thing might even become stronger because of the AI situationship.
(17:09):
You know?
And well, I'm hoping that anyway.
That's kind of what I'm hoping and, and if it's not the case, then I'm hoping that I can kind of at least navigate it a bit more when it comes to my music and, and gaining new people and gaining a bigger community and all the rest of it and kinda coming from that aspect and that DIY aspect and, um, yeah.
(17:29):
Hey, it's forever evolving- Uh-huh … this industry that we're in- Uh-huh.
… which is exciting if we're willing to be open to- Yeah … constantly evolving.
Yeah, I think it's if your mind isn't open, it's a hard place to be in.
You know?
Love it.
Now, my next question.
So it's so interesting how some people take it uber literally.
(17:53):
Correct.
And then others it's, like, sentimental or, like, superstitious.
Oh, okay.
So interesting.
Mm. But is there an object or thing that you can't live without when you're creating?
The first thing that comes to mind, so I'm gonna assume I can have my guitar anyway, so I've got my guitar, is my capo.
(18:13):
I'm a capo girl, and it, for those of you that don't know what it is, it basically changes the key of the guitar wherever you're playing it.
And to me, it's always been a bit of a magical wand in terms of creativeness and creative mindness, and it kind of just, you chuck it on a different fret.
(18:34):
I'm not very theoretical, so it- I chuck it on a different fret and it just puts me in a, another world or a different kind of scheming, planning, plotting spot.
So I'm gonna say, yeah, my little capo.
I love.
Yeah.
I also find, especially as a vocalist- … our voices that we carry around every day, sometimes they don't necessarily perform in the way in which we originally write songs.
(19:01):
Yeah.
So the beautiful thing about capos is it's a very quick little maneuver- Mm … if we need to, you know, change keys- I like it.
That's a way to put it, yeah … if we're, you know, not quite able to get, you know, if you've had a cold- Uh-huh … for a little bit and the, the- Yeah … voice is a little tired.
It can be a little savior as well.
It can be a little savior.
When we- Absolutely … who, who out there is gonna hear a ? Right.
(19:23):
If you start to jump down multiple semitones- … then people start to go- Yeah … "Something doesn't sound right." This just sounds different.
Yeah.
Shh.
Shh.
But I definitely, that is- Yeah … one thing that I always say to vocalists- Mm
especially younger vocalists.
It's like it is so okay.
Whoever put this bullshit out in the world- Absolutely … that everything has to be in its original- No … sorry, I don't normally swear- That's so true … but I really, really mean it.
(19:50):
Yeah.
That is, I call bullshit.
Yeah, I do too.
100%. If it's, if your vocal range sits in a particular way- Mm-hmm
then just sing where you naturally- Yeah … don't hurt yourself.
I mean- No … different if obviously you're training and wanting to push yourself.
Yeah.
Sure, great, awesome.
Yeah.
But also- Do your thing … do you, yeah.
(20:10):
Absolutely.
Yes.
Yeah.
Also, how lovely is it when people sing a different version- It's awesome … and sing it I think I, I prefer that than hearing them do original key, original kind of, um, you know- Aesthetic
yeah.
Arrangement I concur Yep Now, going back to your object Mm Is there a particular brand?
(20:31):
Or, I don't know much about capos.
Yeah Are they built any different?
Are they all pretty the same- Look- … like, they just push everything down?
Pretty much Yeah.
There's no, like- Give or take, like- … different You can get fancier ones than others or whatever, but you know, if we're on a desert island, I'll just go with whatever's, whatever there is Available Yeah, yeah, yeah.
That's it.
I'm not too picky.
Yeah, no, they all kind of do their thing.
Nice.
PS, it has to have a skull on it Right?
(20:53):
Aesthetically- … if you can just do- It needs to be black and red … for my desert island.
Yeah.
Don't want it otherwise.
Yeah.
No, no.
It doesn't have a tea- No, no, no.
No tattoos on it.
No.
Nah, I don't want it.
Forget it.
Yeah, yeah, yeah.
I love it.
Basically.
Oh.
Hey, I'm all for branding, baby.
I love it.
(21:13):
You are.
I love it too.
If you could give one piece of ad- advice- Yeah … one nugget of gold to another creative, what would it be?
Get out of your way.
Yeah, that would be it, I think.
You know, get out of your… Yeah, just let you do you.
And, um- Full stop, I think.
Yeah, yep.
Exclamation mark.
Yep, yep, yep.
(21:34):
Maybe a couple of dots and then the exclamation mark really just prove that point.
Yeah, I think that's the main one that I have really learnt and continue to learn and have to remind myself of hourly a lot of the time, but it's a thing.
We get stuck in our little brains and, um, we should just get out of it and just keep creating.
(21:55):
I think that's it.
Yeah.
I think part of that as well is that saying that everyone hears, which is, uh, "Jack of all trades, master of none." Mm-hmm.
But that's not the full quote.
Mm. And the full quote, is that essentially it's still better to have, have all of these- Yeah … strings in your bows and, and tools and knowledge- Yep … than it is to have not.
(22:25):
I like it.
So yeah, I think that sort of half of that quote does everyone a disservice- Mm … 'cause it makes people go, "Well, I just need to be really good at this thing."
No.
And it's like, but actually think about what conversations and what ideas, what, when pa- perfect- you are the perfect example of this.
Mm. Circumstance has led you to- Yeah … doing more production and something that you are really good at- No … and really have an ear for.
(22:50):
I call myself a musical octopus because it's like there's all the different financial creative lanes that I, I now do and, um, and I'm really thankful for all of them.
And it's and it is, I'm not a perfectionist at, or I'm not a master at any of them, but I'm doing it and I'm doing my life as a musician, you know?
And that's awesome.
(23:10):
So yeah, no, I totally get it.
Musical octopus over here.
I have not heard anyone say musical octopus.
I always have to say tentacles, not testicles.
Thank you.
Oh.
No, no, no.
No, no, no.
Oh my goodness.
Now, when we met, we were studying music, uh- Way back when … at JMC.
(23:33):
Mm-hmm.
And I think this union- Yeah … and many other unions and relationships that we built over that time were amazing.
But with that in mind- If someone wanted to develop their creative process, do what you do- Mm … what resources would you recommend?
(23:56):
Would you recommend study, studying in tertiary education like we had?
Would you have other books and resources or short courses and things that…?
Um, it, I am one of those people that loves taking courses.
I'm a constant learner, and I don't think that'll ever change.
The good thing for, about JMC for me was I got to get out of school early.
(24:20):
So I finished in year 10, um, and started JMC instead of doing VCE.
And that chucked me in to the life of music.
I was doing open mics with you guys and, and making friends who were musicians with the same mentality.
The teachers were really kind of handy in that way too, that they were in the industry and could ha- again, handball you to places, venues, all that kind of stuff.
(24:43):
So it was great in terms of chucking me in the deep end early when I was 100% sure that this is all I've wanted to do.
From a doing a course and being guaranteed a living kind of thing, you're not gonna get that.
I don't think you get that from any kind of creative course.
The biggest thing that I've learnt through all of my learnings and courses and stuff is ask questions.
(25:07):
Go to the source.
If you see someone online and you're like, "I wanna be them," contact them, you know?
Um, book a meeting with them.
Pay for their time if you've gotta do, do that, you know?
Offer them, "Let's go out for a coffee." Whatever it might be, just be forward and upfront and the, the worst thing they'll do is not reply, say, "Sorry, I haven't got time for it." And, and you can you know… They might offer you something else or, or take you somewhere, you know, give some kind of advice for you to do something else or…
(25:39):
Ask questions.
I think that's the biggest one.
There are so many, like, resources on YouTube and stuff.
They're all great.
They're all rabbit holes, and if you're nerdy like me, you will get stuck watching them until 2:00 AM.
And you'll, you'll get what you get from it, you know?
Um, sometimes you will end up stuck and just be like, "I haven't learnt anything."
I think it's just being forward, I think.
(26:00):
Don't wait for shit to come to you.
Be forward about what you want, yeah.
And what's the worst that could happen?
Right.
Someone doesn't reply- Yeah … or says no.
Yeah.
And you go, "Thank you very much for your time." The fact that they've said no I think is a positive, 'cause it's like, well, they've seen that they've made the effort to reply back to you making the effort, so it's like, cool, what's next?
Yeah.
You know, what's next on the list?
They can't help you, who else can?
(26:20):
Or whatever it might be.
Yeah.
Yeah.
Said.
Well said.
Thank you.
Thank you.
Now, if you could throw- Mm … maybe not throw, maybe pop them on the Through the Creative Door bus- Mm … and answer these questions, who would it be and why?
(26:42):
Craig.
Guitarist Crai- my guitarist Craig, who's also known as Acoustic Fox would be a good one.
I think 'cause he is quite a quiet soul until he starts talking.
He does his own podcast, which is fantastic, and it's really good to listen to 'cause you kind of get that conversational thing, and I think you'd get that out of him on this too.
And he's always got little words of wisdom.
Oh my goodness, Amy Frances, what a vibe you are.
(27:04):
Ah.
I could just talk to you all day.
Thanks, Alexis.
You're the best.
You're- For those listening,, if you haven't heard this name- Yeah
you need to get her in your ear holes.
Thank you.
No.
And more importantly, if you are any, anytime in the future in the vicinity of watching this girl perform, she's a crackerjack.
Yeah.
So yeah.
So lovely having you.
Can I mention that you're singing with me- … a lot of the time?
(27:27):
Because, like, I was t- I was talking to someone the other day about our gig and I'm like, "It's so great having Alexis.
I mean, she's such a great singer and everything, but she's a pocket rocket.
And everyone loves her, 'cause she's just so nice, and la, la, la, la, la, la, la." I'm like, "And she's just such a great singer, but she's also just such a fun personality, and la, la, la, la, la, la." So thank you.
'Cause if you come and see me live, you'll probably see Alexis live too-
(27:50):
and she's great.
So just come and hang out with me.
Just come hang.
Yeah, yeah, yeah.
oh, my goodness- welcome to Through The Creative Door.
Thank you.
Thanks for having me.
It's- Excited to be here … so lovely to have you here.
Yeah.
You're such a talented bear.
For those listening, I have known you since you were 16.
15. 15? Mm. Oh, my goodness, how did I get that wrong?
Good question.
. But you are such a rock star.
(01:11):
Ah.
Such a- No … talented musician, multi-instrumentalist.
Also, so brilliant producing things- Shucksies … and, you know, I have such admiration for people who do sync music and, uh, work as well, which is something that you've dived into.
Yeah.
Especially during- Yeah … COVID or during COVID times.
(01:33):
But yeah.
In a nutshell, Amy Frances.
Oh, thanks, mate.
Thanks, mate.
Good to be here.
You have also been in different iterations of bands.
You've worked with so many different people, producers.
So I am intrigued- Mm
of what your answer to this next question's gonna be.
(01:55):
What does a creative space mean to you?
It means not having the main light in the room on.
I'm all about lamps mood lighting, mood smells, making sure I'm caffeinated.
It can be anywhere, but as long as I've got those things I'm usually pretty good, I think.
It's, it's creating a vibe.
(02:16):
And as long as I'm caffeinated and watered, I'm like a plant, basically I'm good to go.
And yeah, that ugly fluorescent, whatever it's called, lighting.
Just make it moody.
Make it a vibe and I'm good.
If they did wanna get a vibe of this ambient aesthetic that you have- Mm
they should totally watch you on TikTok.
(02:36):
Yes.
Yeah.
'Cause you have quite a regular programming for you on TikTok.
Yeah, so every Tuesday, Wednesday, Thursday night I'm on for a couple of hours from around 8:30 PM.
During the daytime I try and jump on for, like, a lunchtime hour.
I've also been doing car TikTok Lives.
We call them little car parties, where I'll drop the kids off at daycare, I'll have my little guitar in the car, and we'll just do…
(03:00):
I'll grab a coffee somewhere, and we'll just do it live from wherever I stop.
Stop.
So that's been fun.
That sounds so cool.
Yeah.
And- Little micro sessions.
Yeah, yeah, yeah.
And, and it's cool because you're kind of, um, targeting different countries.
Yeah.
So the mornings we usually get America the English, and Europeans when they're going to sleep, that kind of vibe.
(03:20):
And then the evenings it's usually the Aussies and the English, Europeans when they're waking up.
I love this.
Yeah.
It's y- you're just catering for everybody.
Trying to, yeah.
Trying to.
Just trying to, yeah, grow the community, I guess.
Love.
Yeah.
Love.
Yeah.
You have released and been part of so many different projects.
(03:42):
Mm. Obviously doing the sync licensing, you've done some pretty cool stuff- Yeah … there.
But is there anything in particular that you're most proud of creating?
I think for a very long time, and for a lot of my career as proud as I have been about the songs, a lot of the time I've been chasing other people's vibes in terms of what is the radio currently playing, who are people listening to, and it's always been authentically me, but it's only in the past kinda couple years that I've felt that I've been able to come into my own grounds and kind of stand my own grounds of being like, "This is how I sound."
(04:20):
A- and you know, uh, that also comes back from past experiences with labels and managers and all the rest of it being, "You gotta sound like this, you gotta look like this, you gotta be like this." I think over the past couple of years, I've been able to come into myown sound and feeling authentically me when I'm delivering something a bit more these days, and I think it's due to my past being associated with other people, management, labels, just other people's opinions, , and still not 100% figuring out who I was as an artist.
(04:56):
I'm really proud of everything I've released and done, but I feel like the past couple of years have been the time that I've kind of felt a lot more grounded and had a bit of a, "This is the path I'm on", kind of thing, if that makes sense.
Mm-hmm.
So, there's no particular release that did that for me, I don't think.
I think Magic probably was the start of it all in terms of being like, "This is me, and this is what I'm doing", kind of thing.
(05:21):
As far as all the sync projects and all, all that kind of stuff, I love doing it, but for me, that's just kind of, part of one of the many musical jobs I've got.
I love doing them but it definitely doesn't mean that that genre that I've been assigned to do for the day is my thing-thing.
You know what I mean?
Um, so yeah, going back to the original side of things, I think the past couple of years have been the, the ones that have felt right.
(05:45):
Have you enjoyed the process of being able to dive into… So you've mentioned about, you know, that journey through.
Mm. Has it been challenging, or have you enjoyed testing out the waters essentially with all of these little genres and trying to work out what your aesthetic and sound is?
(06:05):
Yeah.
I think because I have such a love for music production and writing in general- … and doing the sync stuff as well and then also the journey of my own sound, it, it's all been a, a blessing, I guess.
It's all been something that I've loved doing.
And you learn, and there's nothing I've hated doing, so that's good.
(06:28):
Yeah, it's all been a lesson of, of some kind, and I'm sure in a couple of years I'll be like, "Actually, this is the sound I wanted to go for." So it probably will change, but I guess the main difference that has been made is the fact that I'm making decisions for me rather than listening to everyone else's opinions.
Mm. Mm. Which has been a thing in the past- Yeah … for sure.
Yeah.
(06:49):
I feel like there'd be so many people listening in that would- Part of the goal would be to have someone to tell them what to do- Mm … or to help.
Yeah.
But it seems, just reading between the lines, that perhaps maybe you've enjoyed maybe having a bit more of creative control?
I think it's a blessing and a curse- Okay … in terms of, uh, it's awesome to feel like you're in your skin and in your shoes kind of thing.
(07:18):
But the curse is it is you steering the ship and, um, and that can kind of get overwhelming or questionable at times, you know?
So, it is always great to have a community of people, like yourself that you can kind of rely on to be able to ask questions and, and hear their opinions, uh, without them pretty much putting it down your throat what's right and wrong.
(07:43):
I think that's what it's kind of about, is having people to bounce ideas and stuff off, to be like, "Does this seem like I'm going in the right direction," you know?
Without telling you you're going in the right or wrong direction.
I think that's the difference.
Um, and I feel like that has been a, the, the game changer for me, I think.
And I would assume that the step down from having management would be- Mm … more to have a business coach or mentor or- Definitely … something like that?
(08:15):
So, like, I, I have, um, I have a few mentors that I, I speak with a- and that's been really handy from all different walks of life musically.
You've got your music production side of things as well as mindset and all the rest of it.
They're great.
If I was going to look at hiring people in terms of the organization of my life and business side of things, I'd probably look at a booking agent.
(08:38):
And that's just because it would save me a bunch of time.
They've got the contacts.
They can do that kind of stuff.
Management, I'm not against.
I'm not against it at all.
It's just I haven't needed it.
Well, I've used, I've had it in the past.
Wasn't the most positive of experiences, and I haven't needed it since.
I got burnt early and had to teach myself how to do everything.
(08:58):
So I guess, again, that's the silver lining from it all.
And, uh, that's where we're up to, I guess.
Yeah.
Yeah.
Amazing.
Yeah.
With all of that said, is there something in particular that's challenged your creative process or creativity for
you?
Mm. We all have, life is forever evolving and changing- Mm … and we've all got certain pressures, whether that be family or friends or- Yeah, sure
(09:25):
financial.
But I would be curious to know
whether what we've t- been talking about, about management and that changing of, like- Yeah … trying to work out aesthetic and that journey- Yeah … whether that's been the most challenging thing for you or if there's something else that's been challenging and- Yeah, I think imposter sy- syndrome is a big one, and I think it is pretty big for a lot of creatives.
(09:48):
And I think it's really hard with solo artists as well when you are navigating it yourself.
You know, I feel like with a band situation, you've kind of got each other to, again, bounce back on.
But yeah, imposter syndrome's been a massive one for me.
A lot changed with the pandemic.
That was one thing that was a big change for me from a how is my musical life running.
(10:14):
Uh, beforehand I was touring a fair bit, uh, both here and overseas.
And then when we jumped into lockdown, that's when I started studying production and kinda learning all the ins and outs of that.
Which again, was the silver lining of all of that.
But, uh, in terms of being an artist, uh, that was a massive shift.
(10:37):
Whether it was a positive or a negative one, I don't know.
It definitely shifted me as an artist to be doing different things which is a positive, 'cause I'm making money from music not solely on my original stuff, which I thought would be the end game.
But it's not a bad thing, like at all.
I'm very, very stoked to be doing what I'm doing.
From an artist point of view, I think the m- the biggest challenge for me, uh, through my whole career has, one just being in my own way.
(11:05):
I think when you get out of your own way as an artist and let the things happen, rather than trying to pinpoint every single step in how you think it should happen to get to whatever the end goal is.
A lot of the time the end goal is massive anyway, and you can't, you know, it's not a black and white yes or no, let's go to uni and study for eight years and become a lawyer, and that's what happens.
(11:30):
You know?
It's not what happens in the industry.
So for me, it's been getting in my own way and the imposter syndrome of feeling not good enough or just the the mental health stuff, all that kinda thing.
But j- it's, it all kind of accumulates around the imposter syndrome, I think.
(11:51):
And being in your own head, being in your own way.
Y- and, uh, and that's been something I've been really trying to focus on that I think has helped going back into the, um, authentic self, feeling a bit more like that over the past couple of years.
Has there been particular tools that you've sort of leaned into using to try and help w- Alcohol.
(12:19):
No,
I'm just Alcohol.
Um, but- Therapy.
Yeah, yeah, yeah.
Yes, but no, but yes, but no.
I know when I'm eating well and looking after myself and not drinking alcohol when you're putting yourself first, there we go, that's probably it things seem to go into alignment, whatever you wanna call it, a lot more.
(12:41):
You're in that state, the flow state, whatever you wanna call it and things just seem to work a lot better, and that's in life in general.
And when that's happening, You don't have to think about it.
You don't have to plan it.
Getting out of your own head, getting out of your own lane.
Yeah, just putting yourself first, which is hard to do, I think, you know, in this life.
Whether it's family or y- imposter syndrome or, you know, all that kind of stuff.
(13:04):
It's, um… It's a thing, but it's something that needs to be reminded.
I feel like we should, like, add a, an alarm clock to our thing every morning and just be like, "Oi, are you switched on for you?"
kind of thing, you know, just to… yeah, so I think that's the main thing I've learnt, is just to show up for yourself.
Hmm.
Massive one.
Hmm.
Massive.
I feel that there is a theme with some of the guests that come through here.
(13:29):
Mm-hmm.
Alignment- Mm-hmm … is overarching.
I think what you were saying, like obviously you're able to really pinpoint the imposter syndrome, but this i- this overarching about alignment- Yeah … and coming back to us.
Mm. But the, but the bigger question is alignment… Well, not question, but statement really, is the alignment for the why.
(13:55):
I think it was Max and Nay who talked about this, and I talk about it quite a lot with people- Mm … which is like, what's your North Star?
It's not about how do I do it- Mm … as in, these are all the metrics.
And because everything we in this industry is so metric driven- It is … and so, yeah- … goal orientated.
Yeah.
But it's like, okay, but why?
(14:16):
Mm. Why are we doing it?
Mm, it's like- Why are you pitching for that festival?
Why are we pitching to- What are you gonna get from it?
Yeah.
You know?
And- Yeah … um- What are you hoping to achieve?
Is it getting to- Mm … our why?
I think, I feel like that's something I'm, I'm learning.
I don't know if it's an age thing, I don't know if it's a priority shifting thing, I don't know if it's a life thing, but- It used to always be if I'm not a successful stadium-filling artist, then I'm not successful, and then Craig, my guitarist, and I played a gig in, uh, at the Bundy.
(14:49):
So I think that's probably about 200 people, give or take.
This little hall in the middle of nowhere.
And it was full of people that literally came to see live music, and they bought all the merch, and they came, and we had chats, and there was a fire outside, and there was a community barbecue and homemade cookies.
And I was like, "Holy shit, I just wanna do this. I just want to tour like this for the rest of my life, and everyone's happy, and it'll be nice." And that was, like, a massive changing, like, pivot point for me.
(15:15):
It was only a few weeks ago, but it was like a, this is actually what it's about, it's about comm- And that's why I love TikTok Live as well, because it's building a community.
It's online, so it's a bit of a different vibe.
But you're building a community that are there to be there for the music, but they're also having their little chats inside the, the app as well and, and getting to know each other.
(15:36):
And it's, um, it's that connection thing, and it's it's really special and maybe something that was a little bit lost over the past five years or so with what's been happening in the world.
At the moment, it's still a crazy place to be.
But, um, yeah, it was, it was a bit of a game changer for me, for sure.
Yeah.
And I think especially for music- … where arts as a whole- Mm … but music especially, where people are worried and scared about AI, and I think that then counter that- Mm … with people wanting authentic live, knowing- Yeah
(16:15):
who they're actually, you know, supporting- Mm … in real life.
Mm. So even more so, I think those live connections- I think it's gonna be… I, I really hope it's gonna be a turning point.
I am not against AI.
I think there's a purpose for it.
I think this might be the turning point where it is kinda going back to pre-pandemic time when people went out to see live music for the sake of seeing live music, nowadays, I feel like it's really hard to get people to come out to to see just for the sake of going, you know?
(16:44):
Like, um, not knowing who's on the lineup.
There used to be times where you'd go to a venue to see live music full stop, and it didn't matter who the band or the artist was.
Whereas I feel like these days, people have to have a purpose to go there, but I think that could change maybe.
I think that human connection thing might even become stronger because of the AI situationship.
(17:09):
You know?
And well, I'm hoping that anyway.
That's kind of what I'm hoping and, and if it's not the case, then I'm hoping that I can kind of at least navigate it a bit more when it comes to my music and, and gaining new people and gaining a bigger community and all the rest of it and kinda coming from that aspect and that DIY aspect and, um, yeah.
(17:29):
Hey, it's forever evolving- Uh-huh … this industry that we're in- Uh-huh.
… which is exciting if we're willing to be open to- Yeah … constantly evolving.
Yeah, I think it's if your mind isn't open, it's a hard place to be in.
You know?
Love it.
Now, my next question.
So it's so interesting how some people take it uber literally.
(17:53):
Correct.
And then others it's, like, sentimental or, like, superstitious.
Oh, okay.
So interesting.
Mm. But is there an object or thing that you can't live without when you're creating?
The first thing that comes to mind, so I'm gonna assume I can have my guitar anyway, so I've got my guitar, is my capo.
(18:13):
I'm a capo girl, and it, for those of you that don't know what it is, it basically changes the key of the guitar wherever you're playing it.
And to me, it's always been a bit of a magical wand in terms of creativeness and creative mindness, and it kind of just, you chuck it on a different fret.
(18:34):
I'm not very theoretical, so it- I chuck it on a different fret and it just puts me in a, another world or a different kind of scheming, planning, plotting spot.
So I'm gonna say, yeah, my little capo.
I love.
Yeah.
I also find, especially as a vocalist- … our voices that we carry around every day, sometimes they don't necessarily perform in the way in which we originally write songs.
(19:01):
Yeah.
So the beautiful thing about capos is it's a very quick little maneuver- Mm … if we need to, you know, change keys- I like it.
That's a way to put it, yeah … if we're, you know, not quite able to get, you know, if you've had a cold- Uh-huh … for a little bit and the, the- Yeah … voice is a little tired.
It can be a little savior as well.
It can be a little savior.
When we- Absolutely … who, who out there is gonna hear a ? Right.
(19:23):
If you start to jump down multiple semitones- … then people start to go- Yeah … "Something doesn't sound right." This just sounds different.
Yeah.
Shh.
Shh.
But I definitely, that is- Yeah … one thing that I always say to vocalists- Mm
especially younger vocalists.
It's like it is so okay.
Whoever put this bullshit out in the world- Absolutely … that everything has to be in its original- No … sorry, I don't normally swear- That's so true … but I really, really mean it.
(19:50):
Yeah.
That is, I call bullshit.
Yeah, I do too.
100%. If it's, if your vocal range sits in a particular way- Mm-hmm
then just sing where you naturally- Yeah … don't hurt yourself.
I mean- No … different if obviously you're training and wanting to push yourself.
Yeah.
Sure, great, awesome.
Yeah.
But also- Do your thing … do you, yeah.
(20:10):
Absolutely.
Yes.
Yeah.
Also, how lovely is it when people sing a different version- It's awesome … and sing it I think I, I prefer that than hearing them do original key, original kind of, um, you know- Aesthetic
yeah.
Arrangement I concur Yep Now, going back to your object Mm Is there a particular brand?
(20:31):
Or, I don't know much about capos.
Yeah Are they built any different?
Are they all pretty the same- Look- … like, they just push everything down?
Pretty much Yeah.
There's no, like- Give or take, like- … different You can get fancier ones than others or whatever, but you know, if we're on a desert island, I'll just go with whatever's, whatever there is Available Yeah, yeah, yeah.
That's it.
I'm not too picky.
Yeah, no, they all kind of do their thing.
Nice.
PS, it has to have a skull on it Right?
(20:53):
Aesthetically- … if you can just do- It needs to be black and red … for my desert island.
Yeah.
Don't want it otherwise.
Yeah.
No, no.
It doesn't have a tea- No, no, no.
No tattoos on it.
No.
Nah, I don't want it.
Forget it.
Yeah, yeah, yeah.
I love it.
Basically.
Oh.
Hey, I'm all for branding, baby.
I love it.
(21:13):
You are.
I love it too.
If you could give one piece of ad- advice- Yeah … one nugget of gold to another creative, what would it be?
Get out of your way.
Yeah, that would be it, I think.
You know, get out of your… Yeah, just let you do you.
And, um- Full stop, I think.
Yeah, yep.
Exclamation mark.
Yep, yep, yep.
(21:34):
Maybe a couple of dots and then the exclamation mark really just prove that point.
Yeah, I think that's the main one that I have really learnt and continue to learn and have to remind myself of hourly a lot of the time, but it's a thing.
We get stuck in our little brains and, um, we should just get out of it and just keep creating.
(21:55):
I think that's it.
Yeah.
I think part of that as well is that saying that everyone hears, which is, uh, "Jack of all trades, master of none." Mm-hmm.
But that's not the full quote.
Mm. And the full quote, is that essentially it's still better to have, have all of these- Yeah … strings in your bows and, and tools and knowledge- Yep … than it is to have not.
(22:25):
I like it.
So yeah, I think that sort of half of that quote does everyone a disservice- Mm … 'cause it makes people go, "Well, I just need to be really good at this thing."
No.
And it's like, but actually think about what conversations and what ideas, what, when pa- perfect- you are the perfect example of this.
Mm. Circumstance has led you to- Yeah … doing more production and something that you are really good at- No … and really have an ear for.
(22:50):
I call myself a musical octopus because it's like there's all the different financial creative lanes that I, I now do and, um, and I'm really thankful for all of them.
And it's and it is, I'm not a perfectionist at, or I'm not a master at any of them, but I'm doing it and I'm doing my life as a musician, you know?
And that's awesome.
(23:10):
So yeah, no, I totally get it.
Musical octopus over here.
I have not heard anyone say musical octopus.
I always have to say tentacles, not testicles.
Thank you.
Oh.
No, no, no.
No, no, no.
Oh my goodness.
Now, when we met, we were studying music, uh- Way back when … at JMC.
(23:33):
Mm-hmm.
And I think this union- Yeah … and many other unions and relationships that we built over that time were amazing.
But with that in mind- If someone wanted to develop their creative process, do what you do- Mm … what resources would you recommend?
(23:56):
Would you recommend study, studying in tertiary education like we had?
Would you have other books and resources or short courses and things that…?
Um, it, I am one of those people that loves taking courses.
I'm a constant learner, and I don't think that'll ever change.
The good thing for, about JMC for me was I got to get out of school early.
(24:20):
So I finished in year 10, um, and started JMC instead of doing VCE.
And that chucked me in to the life of music.
I was doing open mics with you guys and, and making friends who were musicians with the same mentality.
The teachers were really kind of handy in that way too, that they were in the industry and could ha- again, handball you to places, venues, all that kind of stuff.
(24:43):
So it was great in terms of chucking me in the deep end early when I was 100% sure that this is all I've wanted to do.
From a doing a course and being guaranteed a living kind of thing, you're not gonna get that.
I don't think you get that from any kind of creative course.
The biggest thing that I've learnt through all of my learnings and courses and stuff is ask questions.
(25:07):
Go to the source.
If you see someone online and you're like, "I wanna be them," contact them, you know?
Um, book a meeting with them.
Pay for their time if you've gotta do, do that, you know?
Offer them, "Let's go out for a coffee." Whatever it might be, just be forward and upfront and the, the worst thing they'll do is not reply, say, "Sorry, I haven't got time for it." And, and you can you know… They might offer you something else or, or take you somewhere, you know, give some kind of advice for you to do something else or…
(25:39):
Ask questions.
I think that's the biggest one.
There are so many, like, resources on YouTube and stuff.
They're all great.
They're all rabbit holes, and if you're nerdy like me, you will get stuck watching them until 2:00 AM.
And you'll, you'll get what you get from it, you know?
Um, sometimes you will end up stuck and just be like, "I haven't learnt anything."
I think it's just being forward, I think.
(26:00):
Don't wait for shit to come to you.
Be forward about what you want, yeah.
And what's the worst that could happen?
Right.
Someone doesn't reply- Yeah … or says no.
Yeah.
And you go, "Thank you very much for your time." The fact that they've said no I think is a positive, 'cause it's like, well, they've seen that they've made the effort to reply back to you making the effort, so it's like, cool, what's next?
Yeah.
You know, what's next on the list?
They can't help you, who else can?
(26:20):
Or whatever it might be.
Yeah.
Yeah.
Said.
Well said.
Thank you.
Thank you.
Now, if you could throw- Mm … maybe not throw, maybe pop them on the Through the Creative Door bus- Mm … and answer these questions, who would it be and why?
(26:42):
Craig.
Guitarist Crai- my guitarist Craig, who's also known as Acoustic Fox would be a good one.
I think 'cause he is quite a quiet soul until he starts talking.
He does his own podcast, which is fantastic, and it's really good to listen to 'cause you kind of get that conversational thing, and I think you'd get that out of him on this too.
And he's always got little words of wisdom.
Oh my goodness, Amy Frances, what a vibe you are.
(27:04):
Ah.
I could just talk to you all day.
Thanks, Alexis.
You're the best.
You're- For those listening,, if you haven't heard this name- Yeah
you need to get her in your ear holes.
Thank you.
No.
And more importantly, if you are any, anytime in the future in the vicinity of watching this girl perform, she's a crackerjack.
Yeah.
So yeah.
So lovely having you.
Can I mention that you're singing with me- … a lot of the time?
(27:27):
Because, like, I was t- I was talking to someone the other day about our gig and I'm like, "It's so great having Alexis.
I mean, she's such a great singer and everything, but she's a pocket rocket.
And everyone loves her, 'cause she's just so nice, and la, la, la, la, la, la, la." I'm like, "And she's just such a great singer, but she's also just such a fun personality, and la, la, la, la, la, la." So thank you.
'Cause if you come and see me live, you'll probably see Alexis live too-
(27:50):
and she's great.
So just come and hang out with me.
Just come hang.
Yeah, yeah, yeah.
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